Singing Gregorian Chant
SINGING GREGORIAN CHANT
Pitch and Mode
A basic tutorial.
miércoles 16 de septiembre de 2009
Singing Gregorian Chant
To indicate any more elaborate a melody, we need a way of
indicating a variety of pitches, and in a precise way. We can begin
to do that by using both lines and the spaces above and below
them. To indicate a pitch below the pitch indicated by the line, we
simply draw a mark below the line. That still is rather limiting,
isn't it? What if we want our melody to drop below that lower
pitch? Or higher than the space above the line?
miércoles 16 de septiembre de 2009
Gregorian chant is prayer sung in unison. To make chant, we have
to control three things: pitch, rhythm, and expression. To help us
control pitch, it would be useful to have a way of representing
pitches and the moments we sing them (pitch events) graphically.
To that end: let's say the line above represents one pitch. If we
want to sing “kyrie eleison” on that pitch, we can indicate the
syllables we want to sing by placing marks on the line above them.
1 miércoles 16 de septiembre de 2009 2
Singing Gregorian Chant
The solution of course is to add more lines. A collection of lines is
called a staff. With a staff, we can indicate a greater variety of
pitches. Unfortunately, there is still a problem. The above pitches
could be sung several different ways, depending on what we think
their exact relative differences are. Right now, the staff and its
marks do not tell us.
3 miércoles 16 de septiembre de 2009 4
 Singing Gregorian Chant Singing Gregorian Chant

Moving the marks onto different lines won't solve the problem
either, because we would just be exchanging one set of unspecified
differences for another. So what should we do, specify the exact
differences between every single mark? That would be tedious.
We need a way that is more efficient. To find it, let's step back and
look at the full range of pitches used in Gregorian chant.
How this set is generated is an interesting question, but for now
let's specify that the difference in sound between each pitch will be
constant, and let's call that difference a whole step. However, let's
admit a few exceptions where the sound difference will be less
than a whole step, and let's call those differences half steps
(indicated above in red).

miércoles 16 de septiembre de 2009 5 miércoles 16 de septiembre de 2009 6

Singing Gregorian Chant Singing Gregorian Chant: Solfeggio

This range of
pitches and its
particular
placement of
whole and half
steps corresponds
exactly to the
arrangement of
white notes on a Instead of letters, let's give these pitches names. The names in the
piano, as shown. above graphic is called “solfeggio” and has been in use as a pitch-
naming system for many centuries. Notice that half steps only
occur in two places: between MI and FA, and between TI and DO.

miércoles 16 de septiembre de 2009 7 miércoles 16 de septiembre de 2009 8

 Singing Gregorian Chant: Solfeggio
If a given melody only ranges a small distance from low to high, it
would be ungainly to draw all these lines. It would also be tedious
to write solfeggio names on every single mark, or indicate where
whole and half steps occur in every instance. What can we do to
indicate what we need without so much trouble?
miércoles 16 de septiembre de 2009
Singing Gregorian Chant
Returning to our original melody with DO indicated on the top
line, we can now sing it confidently. We know that it starts on RE,
that the distance between the second and third pitch is a half step,
and that the distance between the penultimate and last pitch is a
whole step. Sing it. It sounds rather serious, doesn't it? But what
if it isn't what we want? What if the distance between the second
and third pitch is supposed to be a whole step?
miércoles 16 de septiembre de 2009
Singing Gregorian Chant: the DO clef
Answer: select only the four lines we need to encompass the range
of pitches our melody requires, and (this is the stroke of genius)
indicate which of the lines represents DO. By doing this, all our
problems are solved! Marking DO effectively implies what all the
other pitches are, and exactly where the whole and half steps
occur. This mark (it looks like a C) is called the DO clef.
9 miércoles 16 de septiembre de 2009 10
Singing Gregorian Chant
Simple: move the clef down a line. That makes the bottom line
FA, and if you refer back to the illustration of all the pitches, you'll
notice that the distance between the second and third pitch from
FA is a whole step. In addition, you'll also see that the distance
between the penultimate and last pitch above is a half step. Our
melody now sounds rather different, rather festive, perhaps. The
location of half steps evidently creates different effects.
11 miércoles 16 de septiembre de 2009 12
 Singing Gregorian Chant
We could move the DO clef down to the third line as well,
preserving almost the same arrangement of whole and half steps,
but indicating DO on the third line is not as common as a clef to
indicate FA, shown above. Why use it? Simply a matter of visual
convenience: chants using the FA clef often range around FA, both
above and below it.
miércoles 16 de septiembre de 2009
Singing Gregorian Chant: Punctum and Podatus
The basic square or diamond shape is called a punctum. Note that
some punctums are connected to each other by a vertical line. For
example, the third neume above (called a podatus) combines two
pitches, one on top of the other. The bottom pitch is always sung
first.
The dots adjacent to some neumes above are rhythmic and expressive marks, not
pitches. Ditto for the short vertical lines underneath some neumes.
miércoles 16 de septiembre de 2009
Singing Gregorian Chant: Neumes
Now let's return to the business of how Gregorian chant illustrates
pitch events on these lines and spaces. In chant, pitch events are
indicated with marks called neumes. More than one neume
associated with a given syllable is called a melisma. As you can
see, neumes can have different shapes. These shapes have names.
Let's learn the names of the basic neumes, those which affect the
order in which we sing them, and those which affect how we
express or articulate their pitches.
13 miércoles 16 de septiembre de 2009 14
Singing Gregorian Chant: Bistropha, etc.
Consecutive punctums on the same pitch, placed close together,
are called a bistropha (two punctums) or tristropha (three
punctums). The number of punctums indicates duration: two
indicate twice the duration of one, three indicate thrice the
duration, etc. Some scholars recommend distinguishing each
pulse with a little push of your diaphragm, something called
repercussion. Others recommend a slight crescendo.
15 miércoles 16 de septiembre de 2009 16
 Singing Gregorian Chant: Torculus and Clivis
Notice there are two punctums to
the right which are also connected
by vertical lines (in red), but the
bottom punctums are placed to the
right of the top punctums. Are
these podatuses? No, the first is a
torculus, the second a clivis.
There's no singing problem: you
follow the usual principle of
singing pitches from left to right.
Showing their connectivity with a
line suggests their connection to a
group of neumes, called a phrase.
Singing Gregorian Chant: the Porrectus
Careful phrasing is very
important to making chant
sound like an integrated piece
of music.
A neume which looks like a tipped-over
Z is called a porrectus. It denotes three
pitches: you sing the top left pitch first,
then the bottom right, then the top right.
The porrectus in the bottom staff spans a
greater distance between its second and
third pitch, but it is sung in the same
order: left, down, up.

miércoles 16 de septiembre de 2009 17 miércoles 16 de septiembre de 2009 18

Singing Gregorian Chant: Liquescents Singing Gregorian Chant: the Quilisma

The neume in red is like a podatus in The squiggly line in red is called a
that it is composed of two pitches, but quilisma and also denotes a sung pitch. In
notice that the top pitch is smaller in this example, the quilisma connects the
size. This is called a liquescent neume. punctum to its left to the porrectus to its
The smaller pitch is always sung after right.
the bigger pitch, even if it appears below
it. It's also sung more softly. Sometimes Chant scholars have different interpretations as to how the
the liquescent pitch indicates that you quilisma should be sung. One common view is that it should be
should sing the smaller pitch on a treated as having less the duration of the preceding pitch, and
consonant sound, such as the n sound in that one moves through it quickly and lightly to the next pitch.
hosanna.

miércoles 16 de septiembre de 2009 19 miércoles 16 de septiembre de 2009 20

 Singing Gregorian Chant: the Custos
What looks like half of a note at the very end of a staff (above, in
red) is called a custos. It is not sung. Instead, its purpose is to
indicate the first pitch of the following staff. It is a “cue” note – a
courtesy to singers.
miércoles 16 de septiembre de 2009
Singing Gregorian Chant
You can now read this Kyrie, which is an excerpt from Mass VIII
(De Angelis) in the Kyriale Romanum. Since DO is the second
line from the top, the chant begins on FA. Take care to flatten TI
by a half step. We call the flattened pitch TE. Also, a point about
rhythm: the dots above indicate that the pitches to their left are to
be lengthened a bit. This confers a phrase-like feeling to parts of
the chant and invites us to perceive melodic structure and rest.
miércoles 16 de septiembre de 2009
Singing Gregorian Chant: the flat sign
The hollow, b-shaped mark above (the second mark after the clef)
is not itself a pitch; instead, it lowers the adjacent pitch in that
space by a half step. This is called flattening that pitch, and the
mark is accordingly called a flat sign. It applies to every pitch in
that space, in that phrase. (Notice that the flat sign returns later, in
“eleison.”)
21 miércoles 16 de septiembre de 2009 22
Singing Gregorian Chant: Modes
In the Gregorian tradition, pitches are organized into four groups
based on four pitches called finals: they are RE, MI, FA and SOL.
Notice that in each case the placement of half steps differs. Such
differences give each group of pitches a unique set of expressive
advantages.
23 miércoles 16 de septiembre de 2009 24
 Singing Gregorian Chant: Mode I
This first mode is based on RE. Notice that its third pitch is a half
step above the second pitch. Note also that TI can often become
TE (flattened), and that between the seventh pitch (DO) and the
final (RE) there is a whole step. This arrangement of whole and
half steps gives the mode its characteristically serious sound.
Be aware that chants in this and other modes may form themselves around a
reciting tone five steps above the final. (Modes III and IV are exceptions.)
miércoles 16 de septiembre de 2009
Singing Gregorian Chant: Mode I, example
“Spare thy people, O LORD, be not angry with us forever” (Joel
2:17). Part of a litany sung during Lent. Note the heavy use of
FA (the minor-sounding third) and LA (the reciting tone).
miércoles 16 de septiembre de 2009
Singing Gregorian Chant: Mode I, descending
Mode I viewed in descending order. It is useful to get into the
habit of singing modes in descending order as much as in
ascending order because the tendency of our voices is to go flat as
we sing them. It is very desirable to resist this tendency and
develop good pitch accuracy. One way to do this is to check your
accuracy on the third and seventh pitches: these tend to fall flat.
25 miércoles 16 de septiembre de 2009 26
Singing Gregorian Chant: Mode I, example
A hymn from the ninth century. “Hail, star of the sea, mother of
God, ever virgin, happy portal of heaven.” Notice that the
highest note of the chant illustrates the word star. This is musical
illumination of the text, something at which chant excels.
27 miércoles 16 de septiembre de 2009 28
 Singing Gregorian Chant: Mode II (plagal) Singing Gregorian Chant: Mode II, example

Mode II has the same pitches as Mode I, but visually its melodies
tend to range both above and below RE. This is called the mode's
“plagal” range. Every mode has a plagal range.

Notice the change of clef.

“The Lord said to me: You are my Son, this day I have begotten
Thee.” The Introit antiphon for the night before Christmas.

miércoles 16 de septiembre de 2009 29 miércoles 16 de septiembre de 2009 30

Singing Gregorian Chant: Mode II, example Singing Gregorian Chant: Mode III
“Give peace,
O Lord, in
our times,
because
there is none
other who
fights for us, Mode III (and its plagal range, Mode IV) are based on MI. Notice
but only how the first step from MI to FA is a half-step. This is unusual.
You, our There is also no consistent reciting tone. It can be difficult to
God.” sight-read chants in these modes because of these two features, but
they do give Modes III and IV a rather unusual sound and make
them expressive in a strangely beautiful way.

miércoles 16 de septiembre de 2009 31 miércoles 16 de septiembre de 2009 32

 Singing Gregorian Chant: Mode III, example Singing Gregorian Chant: Mode III, example
A famous chant, the
Tantum Ergo is part of
another famous chant,
Pange lingua gloriosi.
Again, notice how
major and assured the
entire chant sounds until
the final word
“defectui” (defective).
From Mass XVI in the Kyriale Romanum. Notice how the The half-step movement
melody centers around TI and SOL (sounding “major”) toward MI gives the
before plunging mysteriously down to MI in the final final word a sense of
phrase. incompleteness –
another illumination?

miércoles 16 de septiembre de 2009 33 miércoles 16 de septiembre de 2009 34

Singing Gregorian Chant: Mode III, example Singing Gregorian Chant: Mode IV (plagal)

Mode IV is the plagal range of MI.

“From the sun's eastern rising, to earth's remotest boundaries, let us sing
of Christ the King, born of the Virgin Mary.” A good example of Mode
III's beautiful, contemplative character, this hymn has enjoyed traditional
use during Lauds on Christmas morning.
This mode is unusual also because one finds it notated with three
clefs: DO on the top line, DO on the second line, or (rarely) FA on
the second line.

miércoles 16 de septiembre de 2009 35 miércoles 16 de septiembre de 2009 36

 Singing Gregorian Chant: Mode IV, example Singing Gregorian Chant: Mode IV, example

from Mass X,
Kyriale
Romanum

“We have seen His star in the East, and we have come with gifts
to adore the Lord.” The communion antiphon on Epiphany
Sunday.

miércoles 16 de septiembre de 2009 37 miércoles 16 de septiembre de 2009 38

Singing Gregorian Chant: Mode V Singing Gregorian Chant: Mode V example

“Where love is found to
be authentic, God is
there. Therefore when
we are together, let us
take heed not to be
Modes V and VI, based on FA, are quite common and festive. divided in mind. Let
Note the use of TI as the fourth step. In a major scale, the fourth there be an end to
step would represent a half-step up from LA. Here, it is a whole bitterness and quarrels,
step, giving the mode an unusually buoyant, suspended sound. an end to strife, and in
However, TI is not always used. Frequently it is lowered to TE, our midst be Christ our
which results in the familiar sound of a major scale. God.”

The DO clef in Mode V is placed either on the first or second line.

miércoles 16 de septiembre de 2009 39 miércoles 16 de septiembre de 2009 40

 Singing Gregorian Chant: Mode V example
The first verse of a
famous chant written by
St. Thomas Aquinas.
“Hidden God, devoutly I
adore Thee, truly present
underneath these veils: all
my heart subdues itself
before Thee, since it all
before Thee faints and
fails.”
miércoles 16 de septiembre de 2009
Singing Gregorian Chant: Mode V example
Here, the melody of “Salve
Regina” has been shifted from
its original base on FA to a
new base on DO.
Since the melody's pattern of
whole and half steps remains
the same, we can say that the
melody has been transposed
from FA to DO.
The mode remains the same.
miércoles 16 de septiembre de 2009
Singing Gregorian Chant: Mode V example
This chant illustrates a
curious and useful fact about
music. Notice that its mode
is stated to be V, but its final
is on DO. What gives?
It turns out that melodies
based on one pitch can be
shifted entirely and based on
another pitch -- and yet
retain its original pattern of
whole and half steps.
This is called transposition.
41 miércoles 16 de septiembre de 2009 42
Singing Gregorian Chant: Mode V example
“Hail, Queen, Mother of
mercy, our life, sweetness, and
our hope, hail. To you we cry,
exiled children of Eve; to you
we send our sighs, mourning
and weeping in this valley of
tears. Turn then, our advocate,
your eyes of mercy toward us.
And Jesus, blessed fruit of thy
womb, after this our exile,
show to us. O clement, O
loving, O sweet virgin Mary.”
43 miércoles 16 de septiembre de 2009 44
 Singing Gregorian Chant: Mode VI (plagal) Singing Gregorian Chant: Mode VI example

Mode VI is the plagal range of FA.

A good example of Mode VI is this familiar Alleluia.

miércoles 16 de septiembre de 2009 45 miércoles 16 de septiembre de 2009 46

Singing Gregorian Chant: Mode VI, example Singing Gregorian Chant: Mode VI, example

“My soul
magnifies the
Lord, and my
spirit exults in
God my savior.”

“Praise the Lord, all you nations, praise Him together, all you
peoples.”

miércoles 16 de septiembre de 2009 47 miércoles 16 de septiembre de 2009 48

 Singing Gregorian Chant: Mode VII Singing Gregorian Chant: Mode VII, example

Mode VII, based on SOL, is very common and sounds very “major”
because of its arrangement of whole and half steps. It is like a major
scale but does have a whole step between its seventh pitch and its tonic
(which is not the case in a major scale). Still, it is usually considered
bright and festive in character. The DO clef is usually placed as above; it “You are Peter, and on this rock I will build my church.”
can also appear on the third line.

miércoles 16 de septiembre de 2009 49 miércoles 16 de septiembre de 2009 50

Singing Gregorian Chant: Mode VII, example Singing Gregorian Chant: Mode VIII (plagal)
“You will sprinkle
me with hyssop,
Lord, and I shall
be cleansed; you
will wash me and
I shall be whiter
than snow.” On
Sundays in Easter, The last mode, Mode VIII, is the plagal range of SOL. Again, placement
it may be sung in of clef can vary.
place of the
penitential rite. Notice that in all plagal ranges, the dominant or “reciting” tone has not
been marked as such. This is the case because in plagal ranges, the
dominant or reciting tone does not follow a set pattern.

miércoles 16 de septiembre de 2009 51 miércoles 16 de septiembre de 2009 52

 Singing Gregorian Chant: Mode VIII example Singing Gregorian Chant: Mode VIII, example
“O Saving Victim,
“Come Holy opening wide the gate
Spirit, Creator of heaven to all below.
blest, and in Our foes press on
our souls take from every side; Thine
up Thy rest; aid supply, Thy
come with strength bestow.
Thy grace and
heavenly aid To Thy great name be
endless praise
to fill the
Immortal Godhead,
hearts which
One in Three; Oh,
Thou hast grant us endless length
made.” of days, In our true
native land with
Thee.” (trans. E. Caswall)

miércoles 16 de septiembre de 2009 53 miércoles 16 de septiembre de 2009 54

Singing Gregorian Chant: Mode VIII, example
These are the last two verses of “Verbum Supernum,” one of the
five Eucharistic Hymns written by St. Thomas Aquinas for the
feast of Corpus Christi.
Singing Gregorian Chant: First Review
I. Gregorian chant is prayer sung in unison.
II. The melody is composed of pitches arranged on a four-line staff.
III. Pitches can be given solfeggio names to aid one's memory and are
distinguished from each other by whole or half step sounds.
IV. In chant, all pitches are presented as relative to a reference pitch:
either DO or FA.
V. Based on visual considerations, the placement of clef can differ.
VI. In the Gregorian tradition, pitches are grouped into four sets based
on their final pitches: RE, MI, FA, or SOL.
VII. Each set of pitches has a “plagal” range.
VIII.These four main sets and their respective ranges means that there
are eight Gregorian “modes” of melody.
IX. Because the placement of whole and half steps differs from mode to
mode, each mode has a different set of expressive advantages.

miércoles 16 de septiembre de 2009 55 miércoles 16 de septiembre de 2009 56